Pre-Raphaelitism was a multi-faceted movement which had a fundamental impact on the cultural, artistic, and intellectual life of Victorian Britain and the British Empire. The Pre-Raphaelites were legendary figures mythologized in their own lifetimes. This major movement has direct relevance to contemporary understanding of national heritage. The Pre-Raphaelites and their supporters produced numerous cultural statements spanning the decorative arts, literature and social politics. This four volume set demonstrates the profoundly interdisciplinary nature of Pre-Raphaelitism. It collects together original Pre-Raphaelite materials comprising fiction, prose, verse, literary criticism and illustration. A range of writings on art, design, architecture, philosophy, religion, science and politics is presented in the themed volumes: literature and literary criticism; autobiographies and diaries; philosophy; design and art criticism; social and cultural critique. Whole texts and significant extracts from the writings of key Pre-Raphaelite figures such as William Allingham, Walter Crane, William Holman Hunt, John Everett Millais, William Morris, Walter Pater, Coventry Patmore, George du Maurie

Though very much an individual and spiritual artist, Alphonse Mucha was a defining figure of the Art Nouveau era and is loved for his distinctive lush style and images of beautiful women in arabesque poses among the plethora of paintings, posters, advertisements and designs he produced. Admire a whole range of his work here in its full glory with succinct accompanying text.

A vivid tour of the town of Arles, guided by one of its most famous visitors: Vincent van Gogh. Once admired as "a little Rome" on the banks of the Rhone, the town of Arles in the south of France had been a place of significance long before the painter Vincent van Gogh arrived in February of 1888. Aware of Arles's history as a haven for poets, van Gogh spent an intense fifteen months there, scouring the city's streets and surroundings in search of subjects to paint when he wasn't thinking about other places or lamenting his woeful circumstances. In Vincent's Arles, Linda Seidel serves as a guide to the mysterious and culturally rich town of Arles, taking us to the places immortalized by van Gogh and cherished by innumerable visitors and pilgrims. Drawing on her extensive expertise on the region and the medieval world, Seidel presents Arles then and now as seen by a walker, visiting sites old and new. Roman, Romanesque, and contemporary structures come alive with the help of the letters the artist wrote while in Arles. The result is the perfect blend of history, art, and travel, a chance to visit a lost past and its lingering, often beautiful, traces in the present.

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Vincent van Gogh's 'Bedroom at Arles'. Vincent van Gogh sought refuge from Paris in February 1888. He set off for Arles to satisfy his yearning to experience the colours of the South. Initially, he took up lodgings at a local hotel but shortly after, he rented the famous Yellow House on Place Lamartine, nestled in between the rail tracks and river on the north side of town. This famous painting depicts his bedroom in the house.

In "Keywords of Nineteenth-Century Art", Christine Lindey offers a fresh approach to the study of the theory and practice of the century's fine art. Fifty key art terms provide a context for copious contemporary quotations from those with direct experience of the creative process: artists, critics, writers and thinkers. The book thus avoids the hackneyed definition of major movements and artists' groups, and instead discusses these through a rich diversity of attitudes to each keyword; those, for example, of the Romantic, Barbizon and Symbolist artists and their publics to issues such as art institutions, exhibitions, landscape, drawing and the pervasive influence of the antique. The quotations are drawn from a wide range of sources. Chosen to exemplify particular historical, geographical, socio-political and aesthetic tendencies, these provide familiar pivotal figures to help guide the reader through a highly populated and fast-changing art world. The emphasis is on French and, to a lesser degree, British art but a range of European and North American art is also discussed. Academic art and the views of its conservative champions are set alongside those of avant-garde artists to convey the major aesthetic debates and public tastes of the century. The struggle of women artists to overcome social and professional exclusion is discussed in relation to male-dominated norms. Associated ideas are appended to each term, guiding the reader towards further readings so that the book provides quick reference, a rich source of quotations and an overall insight into the major preoccupations of nineteenth-century art and artists.

Starry Night is a fascinating, fully illustrated account of Van Gogh's time at the asylum in Saint-Remy, during which he created some of his most iconic pieces of art. Despite the challenges of ill health and asylum life, Van Gogh continued to produce a series of masterpieces - cypresses, wheatfields, olive groves and sunsets during his time there. This fascinating and insightful work from arts journalist and Van Gogh specialist Martin Bailey examines his time there, from the struggles that sent him to the asylum, to the brilliant creative inspiration that he found during his time here. He wrote very little about the asylum in letters to his brother Theo, so this book sets out to give an impression of daily life behind the walls of the asylum of Saint-Paul-de-Mausole and looks at Van Gogh through fresh eyes, with newly discovered material. An essential insight into the mind of a flawed genius, Starry Night is indispensable for those who wish to understand the life of one of the most talented and brilliant artists to have put paintbrush to canvas.

Garden Cities: the phrase is redolent of Arts and Crafts values and nineteenth-century utopianism. But despite being the culmination of a range of influential movements, and their own influence, in fact there were only ever two true garden cities in England - far more numerous were garden suburbs and villages. Crystallised in England by social visionary Ebenezer Howard and designed in many cases by Barry Parker and Raymond Unwin, the concept arose from industrial settlements like Port Sunlight, and also from the American City Beautiful movement. Designed to promote healthy and comfortable individual and community life, as well as commerce and industry, they remain instantly recognisable. This book is a beautifully illustrated guide to the movement and to the communities which are its legacy. Sarah Rutherford has an MA in the conservation of historic parks and gardens and a PhD. She was Head of the English Heritage Historic Parks and Gardens Register and is now a freelance consultant, creating conservation plans.

The incomparable play of light and color in Paul Cezanne's work was the foundation of his reputation as a forerunner of modernism. From the start he went his own way, and his paintings initially evoked a lack of understanding in art critics of the time, as well as ridicule. Despite his romantic, baroque, impressionist, and finally classical influences, it is still difficult to ascribe Cezanne to any particular art movement. Still, which specific places left lasting impressions on the scion of a provincial banker's family? What and who were major influences supporting and advancing his innovative oeuvre? James H. Rubin traces Cezanne's life and work from A to Z in this brief volume, creating an image of a painter who wanted to transform painting itself. The author-and established connoisseur-succeeds in closely approaching the artist while at the same time maintaining the necessary distance to his inimitable paintings.

The only book available on Scottish painting, this book is now in its third edition with a new introduction and final chapter that brings the book up to date with the latest developments in Scottish painting (Richard Wright's win of the Turner Prize 2009). Illustrated throughout, the work is by acknowledged authority on Scottish painting William Hardie. Scottish society has been reflected through the strong colour and energetic brushwork of its artists. The book traces the beginnings of Scottish painting from the foundation of the Foulis Academy in 1753, with William Dyce and Scott Lauder establishing themselves in the south, followed by W Q Orchardson and John Pettie around 1860. European travel ensured Scottish painters were open to new techniques, and the explosion of the Glasgow Boys and then the Colourists onto the scene meant Scotland was respected for its innovation and imagination. Charles Rennie Mackintosh today is still internationally recognised for his work, and the painting of John Byrne, Curister, and Peter Howson bring the book to the present day.

A pathbreaking history of art that uses digital research and economic tools to reveal enduring inequities in the formation of the art historical canon Painting by Numbers presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited-and potentially biased-sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that-to date-have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Upending traditional perspectives on the art historical canon, Painting by Numbers offers an innovative look at the nineteenth-century art world and its legacy.

The Greek myths are timeless classics, whose scenes and figures have captivated us since ancient times. The gods and heroes of these legends hold up a mirror to the human condition, embodying universal characteristics and truths - whether it be the courage of Perseus, the greed of Midas, the vaulting ambition of Icarus, the vengeance of Medea, or the hubris of Niobe. These traits are the basis for immortal dramas and rich narratives, as profound as they are entertaining, which form the bedrock of our culture and literature today and remain relevant and fascinating for all readers, young and old alike. This edition contains 47 tales based on the most famous episodes in Greek mythology, from Prometheus, the Argonauts, and Theseus to the Trojan War and Homer's Odyssey. The individual texts are selected from the seminal work Sagen des klassischen Altertums (Gods and Heroes: Myths and Epics of Ancient Greece) by Gustav Schwab (1792-1850), and strikingly illustrated by 29 artists, among them outstanding representatives of the Golden Age of Book Illustration and the Arts and Crafts Movement, including Walter Crane (1845-1915), Arthur Rackham (1867-1939), William Russell Flint (1880-1969), and Virginia Frances Sterrett (1900-1930). These illustrations are complemented by scene-setting vignettes for each story and a genealogical tree of Greek gods and goddesses by Clifford Harper, commissioned especially for this volume. Placing the tales in context, the book contains a historical introduction by Dr. Michael Siebler and is rounded off with biographies of all featured artists as well as an extensive glossary of ancient Greece's most famous protagonists. The heroism, tragedy, and theater of Greek mythology glimmer through each tale in this lavishly illustrated edition, awakening the gods and heroes to new life.

No other artist, apart from J. M. W. Turner, tried as hard as Claude Monet (1840-1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cezanne called "only an eye, but my God what an eye!" who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of water lilies, painted in his own garden at Giverny, which, in their approach towards almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential artist, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

Depicts the experiences of the French artist while living on a Polynesian island and discusses the culture of the natives of the island.

The English Romantic painter Joseph Mallord William Turner (23 April 1775-19 December 1851) was a brilliant landscape artist, a watercolourist and printmaker. His style, powerful and fierce, melding the elements with humankind are thought by many to have prepared the way for Impressionism. In his time he was controversial, but his focus on land and seascapes widened the palette of artists and their audience, and his impressionistic brushwork prepared the way for the fragmentation of the modern era. This wonderful new book brings to life his greatest achievements, with such paintings as The Fighting 'Temeraire', Inside Tintern Abbey and Rain, Steam and Speed (The Great Western Railway).

Traditional postcolonial scholarship on art and imperialism emphasises tensions between colonising cores and subjugated peripheries. The ties between London and British white settler colonies have been comparatively neglected. Artworks not only reveal the controlling intentions of imperialist artists in their creation but also the uses to which they were put by others in their afterlives. In many cases they were used to fuel contests over cultural identity which expose a mixture of rifts and consensuses within the British ranks which were frequently assumed to be homogeneous. British Art for Australia, 1860-1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries represents the first systematic and comparative study of collecting British art in Australia between 1860 and 1953 using the archives of the Australian national galleries and other key Australian and UK institutions. Multiple audiences in the disciplines of art history, cultural history, and museology are addressed by analysing how Australians used British art to carve a distinct identity, which artworks were desirable, economically attainable, and why, and how the acquisition of British art fits into a broader cultural context of the British world. It considers the often competing roles of the British Old Masters (e.g. Romney and Constable), Victorian (e.g. Madox Brown and Millais), and modern artists (e.g. Nash and Spencer) alongside political and economic factors, including the developing global art market, imperial commerce, Australian Federation, the First World War, and the coming of age of the Commonwealth.

Robert Seymour and Nineteenth-Century Print Culture is the first book-length study of the original illustrator of Dickens's Pickwick Papers. Discussion of the range and importance of Seymour's work as a jobbing illustrator in the 1820s and 1830s is at the centre of the book. A bibliographical study of his prolific output of illustrations in many different print genres is combined with a wide-ranging account of his major publications. Seymour's extended work for The Comic Magazine, New Readings of Old Authors and Humorous Sketches, all described in detail, are of particular importance in locating the dialogue between image and text at the moment when the Victorian illustrated novel was coming into being.

In this detailed and meticulously researched account of the life and work of Charles Michell, the first surveyor-general and civil engineer of the South African Cape Colony, author Gordon Richings examines in depth, the many interests and achievements of the man, as well as the essence of the time in which he lived, by referring to unpublished personal diaries, sketchbooks and letters. Born in Exeter, Devon in 1793, Michell showed artistic talent at a young age, but due to family circumstances, joined the British Army and served with distinction in the Napoleonic Wars in Portugal. He came to the Cape in 1829 and for the next twenty years played a crucial role in opening up the Cape interior to economic development and expansion, by designing roads, bridges and mountain passes, including Sir Lowry's, the Houw Hoek, Montagu and Michell's Passes. He also suggested improvements to Table Bay Harbour and designed lighthouses at Mouille Point, Cape Agulhas and Cape Recife in an effort to protect shipping along the Cape's notorious coastline. This first biography of Charles Michell is lavishly illustrated with his sketches, watercolours and engravings of Cape scenery, plants, insects and rock paintings, as well as Cape personalities, maps of the colony and architectural plans - the majority of which are published for the first time. New light is shed on the socio-economic life at the Cape, particularly the Tsitsikamma region of the southern Cape, the Frontier War of 1834-35, as well as on the personalities of Michell's colleagues and contemporaries in England and at the Cape.

The Pre-Raphaelite Brotherhood was a group of radical young artists who banded together in London in 1848. This book explores the vital role played by drawing and design in the work of the Brotherhood and their associates and followers. Alongside nudes and figure studies are the group s portraits, self-portraits, and caricatures that were often exchanged as gifts between friends; delicate studies of nature by John Ruskin and John Brett; scenes derived from religious, literary, and medieval sources; captivating studies of the iconic Pre-Raphaelite models Lizzie Siddal and Jane Morris; and original designs for stained glass, textiles, and ceramics. The book explores the full variety of Pre-Raphaelite drawing and demonstrates the impact that it had on turn-of-the-century British art movements such as Aestheticism, Symbolism, and Art Nouveau. Illustrated with the most important Pre-Raphaelite drawings from public and private collections in Britain including striking works by Dante Gabriel Rossetti, William Holman Hunt, and Edward Burne- Jones that have never before been exhibited or reproduced it offers an intimate look into the enchanting world of the Pre-Raphaelites.

Detailed plates from the Bible: the Creation scenes, Adam and Eve, horrifying visions of the Flood, the battle sequences with their monumental crowds, depictions of the life of Jesus and visions of the new Jerusalem. Each of the 241 plates is accompanied by the appropriate verses from the King James version of the Bible.

This book examines Theodore Gericault's images of black men, women and children who suffered slavery's trans-Atlantic passage in the late eighteenth and early nineteenth centuries, including his 1819 painting The Raft of the Medusa. The book focuses on Gericault's depiction of black people, his approach towards slavery, and the voices that advanced or denigrated them. By turning to documents, essays and critiques, both before and after Waterloo (1815), and, most importantly, Gericault's own oeuvre, this study explores the fetters of slavery that Gericault challenged-alongside a growing number of abolitionists-overtly or covertly. This book will be of interest to scholars in art history, race and ethnic studies and students of modernism.

Ernst Haeckel (1834-1919) was a German-born biologist, naturalist, evolutionist, artist, philosopher, and doctor who spent his life researching flora and fauna from the highest mountaintops to the deepest ocean. A vociferous supporter and developer of Darwin's theories of evolution, he denounced religious dogma, authored philosophical treatises, gained a doctorate in zoology, and coined scientific terms which have passed into common usage, including ecology, phylum, and stem cell. At the heart of Haeckel's colossal legacy was the motivation not only to discover but also to explain. To do this, he created hundreds of detailed drawings, watercolors, and sketches of his findings which he published in successive volumes, including several marine organism collections and the majestic Kunstformen der Natur (Art Forms in Nature), which could serve as the cornerstone of Haeckel's entire life project. Like a meticulous visual encyclopedia of living things, Haeckel's work was as remarkable for its graphic precision and meticulous shading as for its understanding of organic evolution. From bats to the box jellyfish, lizards to lichen, and spider legs to sea anemones, Haeckel emphasized the essential symmetries and order of nature, and found biological beauty in even the most unlikely of creatures. In this book, we celebrate the scientific, artistic, and environmental importance of Haeckel's work, with a collection of 300 of his finest prints from several of his most important tomes, including Die Radiolarien, Monographie der Medusen, Die Kalkschwamme, and Kunstformen der Natur. At a time when biodiversity is increasingly threatened by human activities, the book is at once a visual masterwork, an underwater exploration, and a vivid reminder of the precious variety of life. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program-now more compact, friendly in price, and still realized with the same commitment to impeccable production.